Exploring the paths that literature opens

Category: Journeys

  • Virginia Woolf’s London [1]

    22 Hyde Park Gate

    While visiting London recently, I couldn’t resist returning to this place. I sat on the steps across the street and gazed at the stately townhouse where Virginia Woolf was born on January 25, 1882, as Adeline Virginia Stephen, the youngest daughter of the successful author and critic Sir Leslie Stephen. With a sense of emotion, I recalled the memories Woolf shares in her autobiographical essays, Moments of Being.

    ‘The house was dark because the street was so narrow that one could see Mrs Redgrave washing her neck in her bedroom across the way; also because my mother who had been brought up in the Watts-Venedan-Little Holland House tradition had covered the furniture in red velvet and painted the woodwork black with thin gold lines upon it. The house was also completely quiet. Save for an occasional hansom or butcher’s cart nothing ever passed the door. One heard footsteps tapping down the street before we saw a top hat or a bonnet; one almost always knew who it was that passed; it might be Sir Arthur Clay; the Muir Mackenzies or the white-nosed Miss or the red-nosed Mrs Redgrave. Here then seventeen or eighteen people lived in small bedrooms with one bathroom and three water-closets between them.’

    ‘Here the four of us were born; here my grandmother died; here my mother died; here my father died; here Stella became engaged to Jack Hills and two doors further down the street after three months of marriage she died too. When I look back upon that house it seems to me so crowded with scenes of family life, grotesque, comic and tragic; with the violent emotions of youth, revolt, despair, intoxicating happiness, immense boredom, with parties of the famous and the dull; with rages again, George and Gerald; with love scenes with Jack Hills; with passionate affection for my father alternating with passionate hatred of him, all tingling and vibrating in an atmosphere of youthful bewilderment and curiosity that I feel suffocated by the recollection. The place seemed tangled and matted with emotion. I could write the history of every mark and scratch in my room, I wrote later. The walls and the rooms had in sober truth been built to our shape. We had permeated the whole vast fabric it has since been made into an hotel with our family history. It seemed as if the house and the family which had lived in it, thrown together as they were by so many deaths, so many emotions, so many traditions, must endure for ever. And then suddenly in one night both vanished.’

    /Virginia Woolf Moments of Being – Autobiographical Essays/

    13 Kensington Square

    In the second half of the nineteenth century, London saw the first academic institutions open their doors to women. One of the most important was the Ladies’ Department of King’s College London, which was established in 1885 at 13 Kensington Square. It provided women the opportunity to study subjects that had long been reserved almost entirely for men.

    Inside this townhouse, students attended lectures in history, literature, classical and modern languages, philosophy, and the sciences. The Department had academic standing while retaining an intimate character, with many lessons conducted in small groups. From the 1890s, Lilian Faithfull, a teacher and social reformer, played a leading role in advancing women’s education. Among the tutors were outstanding classicists such as Clara Pater and Janet Case, both of whom strongly influenced the intellectual growth of future writers and artists.

    It was here, between 1897 and 1902, that Virginia Stephen – later known as Virginia Woolf – studied history, Greek, Latin and German. She also took private Greek lessons with Janet Case. Her elder sister, the painter Vanessa Stephen (later Vanessa Bell), also studied at the Department. For both sisters, Kensington Square offered their first taste of academic life. Though limited by the restrictions placed on women at the time, the experience encouraged their later self-education and creativity.

    Today, the building at 13 Kensington Square is called St James’ House and serves as office space. It remains an important landmark in the history of women’s education in Britain. Virginia Woolf is remembered at King’s College London, where she is named among its distinguished former students, and one of the university buildings now carries her name (22 Kingsway, London).

  • The Gravediggers

    Glasnevin Cemetery in Dublin is a national cemetery for the Irish, established in 1832. It is the final resting place of over a million people, including many famous and distinguished Irishmen.

    Right next to one of the cemetery gates is a pub with the charming name ‘The Gravediggers’, founded by John Kavanagh in 1833. Kavanagh had a knack for business, because not only did he open a bar that attracted mourners and served the gravediggers who worked at the cemetery, but he also bought the land around it to prevent any potential competition in the immediate vicinity.

    The pub is named after the cemetery workers who were so keen to use its services. So keen that the main gate was eventually moved to another location, and a special window was made in the pub’s wall through which gravediggers could order beer by knocking on it with a shovel. Today, the pub’s guests are mostly tourists visiting the cemetery.

    However, James Joyce does not mention The Gravediggers in his famous novel Ulysses although one of the characteristic scenes – the funeral of Paddy Dignam (Episode 6, ‘Hades’) – takes place in Glasnevin Cemetery.

    ‘The O’Connell circle, Mr Dedalus said about him. (…)

    Mr Bloom walked unheeded along his grove by saddened angels, crosses, broken pillars, family vaults, stone hopes praying with upcast eyes, old Ireland’s hearts and hands. (…)

    How many! All these here once walked round Dublin. Faithful departed. As you are now so once were we. (…)

    The gates glimmered in front: still open. Back to the world again. Enough of this place. (…)

    Thank you. How grand we are this morning!’

    In the pub itself, part of the action of the novel Dublinesque by the Spanish writer Enrique Vila-Matas takes place.

    The story follows Samuel Riba, a retired Spanish publisher who loves books and worries about the decline of the literary world. He travels to Dublin with a few friends to hold a mock funeral for the ‘Gutenberg era’ – the age of printed books – inspired by Ulysses and the work of James Joyce.

    While in Dublin, they visit real places linked to Ulysses, including ‘The Gravediggers’. Vila-Matas uses the pub as both a real setting and a symbol – a place between life and death, past and present – which suits a story about endings: of people, books, and times gone by.

  • The House of the Dead

    15 Usher’s Island in Dublin, Ireland, is a classic Georgian townhouse overlooking the River Liffey. It’s an important part of literary history. In the late 1800s, the house was home to the grand-aunts of writer James Joyce, who also ran a music school there. Their home later became the setting for one of Joyce’s most famous stories, The Dead, the last one in his collection, Dubliners.

    ‘Lily, the caretaker’s daughter, was literally run off her feet. Hardly had she brought one gentleman into the little pantry behind the office on the ground floor and helped him off with his overcoat when the wheezy hall-door bell clanged again and she had to scamper along the bare hallway to let in another guest. It was always a great affair, the Misses Morkan’s annual dance. Everybody who knew them came to it, members of the family, old friends of the family, the members of Julia Morkan’s choir, any of Kate Morkan’s pupils that were grown up enough, and even some of Mary Jane’s pupils too.’

    The Dead takes place during a Christmas party at 15 Usher’s Island. The main characters, Gabriel Conroy and his wife Gretta, attend the yearly dinner held by Gabriel’s aunts. The evening features music and a discussion on politics. As they prepare to leave, Gabriel sees Gretta standing quietly on the stairs, deep in thought. A song from the party has brought back memories of her youth…

    This story made the house a well-known literary location, though in later years it was often empty or used by squatters.

    In 1987, director John Huston used the house’s exterior in his film version of The Dead.

    A scene from John Huston’s film The Dead

    Around 2000, Brendan Kilty, a barrister and passionate Joycean, purchased 15 Usher’s Island and lovingly restored the house as a tribute to James Joyce’s The Dead. His vision was to revive the spirit of the story’s famous dinner scene, hosting gatherings and events that celebrated Dublin’s literary heritage. For a time, the house stood as a living museum of Joyce’s world – filled with music, conversation, and echoes of the past. However, financial difficulties eventually forced Kilty into bankruptcy in 2012, and the house was sold by receivers in 2017.

    ‘The drawing-room was filled with so many guests that the young men, unable to find chairs, had to stand about in groups near the piano. The middle of the room was occupied by a large square piano and a tall mirror above the mantelpiece reflected the gas flames, making the room bright and warm.’

    For many people in Dublin, the house still feels like a part of Joyce’s world. When there were plans to turn it into a tourist hostel, writer Colm Tóibín and others objected, saying it was too important culturally. Unfortunately, their appeal didn’t succeed.

    Whatever the future holds for 15 Usher’s Island, The Dead has left its mark here. The house now faces a bridge named after Joyce, linking Usher’s Island with Blackhall Place on the north side of the river. The bridge opened on Bloomsday in 2003.

  • The Five

    Inspired by a winter read, I decided to spend the summer walking through the streets of London’s East End, which in the late 19th century became the stage for one of the darkest stories of modern times.

    In the summer and autumn of 1888, five women lost their lives in the alleys of Whitechapel: Mary Ann ‘Polly’ Nichols, Annie Chapman, Elizabeth Stride, Catherine Eddowes and Mary Jane Kelly. They all struggled with poverty, homelessness and the lack of support in a world that left no room for weakness. Their deaths were violent and cruel, but the memory of them was quickly overshadowed by the story of the man who killed them.

    The Victorian press had no doubts: their fates were explained by what was seen as an ‘immoral lifestyle’. Selling sex on the streets became an easy label that required neither nuance nor empathy. In truth, only two of the women may have turned to sex work at times. The others were simply trying to survive in a world where hunger and homelessness were far greater threats than any personal weakness. The false image created by newspapers meant that, for decades, the women’s identities were reduced to a stereotype, their lives hidden beneath the myth of their killer.

    Hallie Rubenhold challenges this myth in her book The Five: The Untold Lives of the Women Killed by Jack the Ripper. Instead of chasing the murderer, as countless writers have done for over a century, she focuses on the victims themselves – their childhoods, relationships, struggles and daily fight to stay alive in poverty. Rubenhold brings them out of the shadows, restoring the dignity denied to them by their contemporaries and by history. It is both an act of remembrance and a gesture of justice – giving back voices to women who were, for so long, treated only as the backdrop to the legend of a ‘dark genius of evil’.

    It was the sensational newspapers of the 19th century – the so-called ‘penny press’ – that built the legend of Jack the Ripper. Their pages were filled with loud headlines, supposed letters from the killer, rumours and gossip. Fear and curiosity sold far better than the quiet truth about the lives of poor women in the East End. As a result, it was he, not his victims, who became the focus of public imagination.

    Mitre square

    Over the years, the Ripper moved beyond criminal history and entered popular culture. His shadow hangs not only over books and films but also, sometimes in grotesque ways, over everyday life. London pubs and restaurants have used his name – for example, the fish-and-chip shop Jack the Chipper, the historic pub The Ten Bells (once renamed Jack the Ripper), or the cocktail bar Ripper & Co in Portsmouth. Tourist marketing and morbid curiosity blend with a dark legacy, transforming tragedy into a decorative spectacle. A story that should serve as a warning has become an ornament.

    Whitechapel High Street

    From time to time, attempts are made to solve the mystery. Modern DNA analysis has suggested that the killer may have been Aaron Kosminski, a Polish Jew and barber from the East End, already suspected during the original investigation. Yet the lack of clear proof and doubts about the methods used mean that his name remains only a theory. Perhaps it is exactly this uncertainty that keeps the legend alive. Today, the Ripper is more of a symbol than a real person of flesh and blood – and his name, turned into a pop culture icon, has sadly drawn attention away from the women whose lives ended in the dark streets of Whitechapel.

  • Remembering the Aran Islands

    While reading So it goes. Travels in the Aran Isles, Xian and places between by Nicolas Bouvier, I recall my visit to Inis Inis Mór, the largest of the Aran Islands on the West coast of Ireland.

    And while life on the island may seem blissful and idyllic in the innocent July weather, the truth that spoke to me most eloquently was the one I saw hauntingly enshrined in this tree.

    Bouvier expresses this in the following words:

    ‘A wind which had picked up from Newfoundland would not let itself be fooled by a cliff, however imposing. For the wind it was less an obstacle than a riddle to which it had long known the answer. This is how it works: at the foot of the cliff it forms a cushion of air; from this springboard it rises up and starts again. When, having made the climb, it reaches the top and hurtles down the other slope in almighty gusts which flatten broom and thistles, it better not to stand in its way. A few meters from the fort, one of these gusts hit me, throwing me to the ground and tossing me into the stones and brambles like yesterday’s newspaper. I saw my heavy camera bag bounding ahead to the green meadows, scattering the rabbits, and found shelter in a corner of the fort, hands and nose bleeding from scratches.’

    ‘I asked Hernon what people did here at this time of year.

    “After the January storms, if the west wind sets in, they do nothing. The waves are too strong for coastal fishing. (…) The walls around the kitchen gardens get repaired but the wind’s too strong to spread seaweed on the meadows, it blows over the stone walls and then you have to start all over again. The men do odd jobs around the house, and drink; the women knit for the summer tourist trade. And not just any old knitting: each of the island villages, even if there are only four or five houses, has its pattern, like a brand. In the old days it was a way to identify the drowned who washed up on shore: crabs and fish don’t eat wool. Today it’s only the drunk who drown; they have their separate corner in the cemetery”.’

    /Nicolas Bouvier So it goes. Travels in the Aran Isles, Xian and places between/